new realism photo-realism super realism. new realism new realism is also known as super-realism,...
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New Realism
Photo-Realism
Super Realism
New Realism
• New Realism is also known as Super-Realism, Photo-Realism, and Hyper-Realism.
• Artists used commercial art techniques such as the grid, airbrush, photography, or anything that would help produce a realistic image.
• It was based on the pop of the 50's & 60's and astounded the viewer with incredible illusions of reality.
• Artists strive for a synthesis of reality.• Often the look of the finished product is determined by
the source (photo or cast of an actual person).• Artists return to the notion that there is a world worth
looking at and recording on canvas.
New Realism
• Photo-Realism evolved from two longstanding art-historical traditions: trompe l'oeil ("to fool the eye") painting and the meticulous technique and highly finished surfaces of seventeenth-century Dutch painting.
• Painters such as Vermeer greatly influenced Estes with their detailed observation of reality and their use of technical devices, such as the camera obscura.
Chuck Close
• Began as Abstract Expressionist
• Begins working with a system: a) grids photo b) Grids canvas to scale c) Paints each square with attention of individual painting
• Process is as important as image
Big Self- Portrait
Chuck ClosePhoto- Realism
1967-68
• Subject is self-portrait but like I.D. photo
• Uses airbrush, impersonal like silk-screen in Pop
• Black & White • Large scale - the subject
is both heroic & exploited• Very objective rendering
of subject - translates photo info into paint info
• Portraits in no way reflect the inner qualities of the subject
• From distance - giant blow-ups of photo's
• Up close - Abstract fields of dots & marks
• Info exposes every detail including the unflattering - pores, hairs, wrinkles, blemishes
• Not idealized
John 1971-72
• Artist’s friend• Reproduces limited
depth of field of the photographic source
• Collapse of vein in 1988 leaves him in near total paralysis (legs, arms, even hands)
• Now paints with brush strapped to wrist in a wheelchair
Roy IIChuck Close
Photo- Realism1994
• Part of a series of fellow artists – this one depicts Roy Lichtenstein
• His new circumstances librated his process.
• Having no fine motor skills forced a new system involving concentric circles of sumptuous colour, and expressive handling of paint.
• Grids are much larger, so the resolving distance increases
Richard Estes
• Master of the urban scene, he paints directly from photo's and slides
• An Estes painting is a composite of several photographic views of the same subject (often up to 75 exposures combined in photomontage.)
• He is not concerned with recreating exact copies of photographs, but rather in manipulating and reconstructing them to create a view that appears more truthful to the eye than reality.
• Scenes of New York City that focus on the built environment rather than the natural one.
Richard Estes
• They are usually obscure locations rather than well-known landmarks.
• Compositions are typically devoid of people and therefore convey a sense of somber isolation without narrative.
• Some content is derived from Pop (commercial signage), but technique and style are more sophisticated.
• The image is built up in layers of acrylic paint. Estes then overpaints the entire canvas in oil, to enhance luminosity and rich saturation of color.
Central Savings, 1975
• The subjects reveal the prominence of commercialism in the urban landscape.
• The camera makes available a vast amount of info, frozen in time.
• The mood is non-judgmental/neutral.
Central Savings, 1975
Central Savings, 1975
• Reflections on glass & chrome animate the scene.• Colours, shadows, & every subtly of perspective is
painstakingly reproduced and enhanced.
Double Self-Portrait, 1976
• Demonstrates his attention to detail, and convincing depiction of reflection.
• Reflections dissolve/fuse the barrier between background & foreground.
• Multiple layers of visual information, alert the viewer to things they have not noticed before.
Double Self-Portrait, 1976
Double Self-Portrait, 1976
• Reflection adds depth• The location is out of context and the open composition is nearly
abstract because of the emphasis on rectilinear shapes.
Duane Hanson
• Work contains tension between artificial & realistic qualities
• Based on direct cast of parts of human figures, then reassembles them cast in polyester resin & fiberglass, with real clothes, wigs, & objects.
• Uses cast in the way Estes uses photos• Figures mix/ blend in to the environment• Subjects are everyday people• Satires, and criticizes social circumstances
Tourists 1970
• Virtual Reality• Subject suggests physical
bloating & Intellectual starvation
• Paradox - detached viewers are subjects of observation
• Social observation of retired tourists in NY
• Bizarre quality - very real, but don't move or breath
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